Saving the Earth is a filthy business.
Welcome to the Kyoto Conference Centre, December 11, 1997. The nations of the world are in deadlock. Time is running out and a climate change agreement feels a world away. The greatest obstacle: American oil lobbyist and master strategist, Don Pearlman…
Fresh off critically acclaimed, sold-out productions in Stratford-upon-Avon and London’s West End, the Royal Shakespeare Company and Good Chance production of KYOTO makes its U.S. debut with an eerily prescient message.
KYOTO asks who gets to decide what’s worth saving when the entire planet is at risk—and what we’re willing to give up so we can move forward, together.
While Kyoto offers striking scenes and moments, often staged at a quick clip by its directors, the play remains a weighty work that’s not always engrossing in spite of the excellence of its actors, who do plenty of heavy lifting to keep it moving along. Once the show suddenly ends, the play’s somewhat foregone conclusion may well leave you flat, with only a bitter taste in your mouth.
Playwrights Joe Murphy and Joe Robertson’s slow unveiling of the truth — that Don is not an everyman, but an oilman — is gratifying, leaving you mad enough to be inspired to act but not so depleted of trust that you can’t.
| 2025 | West End |
West End |
| 2025 | Off-Broadway |
Off-Broadway |
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